Specimens of the Table Talk of Samuel Taylor Coleridge. Coleridge Samuel Taylor
in the Platt-Deutsch of the north of Germany there were only two definite articles—die for masculine and feminine, and das for neuter. Then it was die sonne, in a masculine sense, as we say with the same word as article, the sun. Luther, in constructing the Hoch-Deutsch (for really his miraculous and providential translation of the Bible was the fundamental act of construction of the literary German), took for his distinct masculine article the der of the Ober-Deutsch, and thus constituted the three articles of the present High German, der, die, das. Naturally, therefore, it would then have been, der sonne; but here the analogy of the Greek grammar prevailed, and as sonne had the arbitrary feminine termination of the Greek, it was left with its old article die, which, originally including masculine and feminine both, had grown to designate the feminine only. To the best of my recollection, the Minnesingers and all the old poets always use the sun as masculine; and, since Luther's time, the poets feel the awkwardness of the classical gender affixed to the sun so much, that they more commonly introduce Phoebus or some other synonyme instead. I must acknowledge my doubts, whether, upon more accurate investigation, it can be shown that there ever was a nation that considered the sun in itself, and apart from language, as the feminine power. The moon does not so clearly demand a feminine as the sun does a masculine sex: it might be considered negatively or neuter;—yet if the reception of its light from the sun were known, that would have been a good reason for making her feminine, as being the recipient body.
As our the was the German die, so I believe our that stood for das, and was used as a neuter definite article.
The Platt-Deutsch was a compact language like the English, not admitting much agglutination. The Ober-Deutsch was fuller and fonder of agglutinating words together, although it was not so soft in its sounds.
May 8. 1830
Horne Tooke said that his friends might, if they pleased, go as far as Slough,—he should go no farther than Hounslow; but that was no reason why he should not keep them company so far as their roads were the same. The answer is easy. Suppose you know, or suspect, that a man is about to commit a robbery at Slough, though you do not mean to be his accomplice, have you a moral right to walk arm in arm with him to Hounslow, and, by thus giving him your countenance, prevent his being taken up? The history of all the world tells us, that immoral means will ever intercept good ends.
Enlist the interests of stern morality and religious enthusiasm in the cause of political liberty, as in the time of the old Puritans, and it will be irresistible; but the Jacobins played the whole game of religion, and morals, and domestic happiness into the hands of the aristocrats. Thank God! that they did so. England was saved from civil war by their enormous, their providential, blundering.
Can a politician, a statesman, slight the feelings and the convictions of the whole matronage of his country? The women are as influential upon such national interests as the men.
Horne Tooke was always making a butt of Mr. Godwin; who, nevertheless, had that in him which Tooke could never have understood. I saw a good deal of Tooke at one time: he left upon me the impression of his being a keen, iron man.
May 9. 1830
I must acknowledge I never could see much merit in the Persian poetry, which I have read in translation. There is not a ray of imagination in it, and but a glimmering of fancy. It is, in fact, so far as I know, deficient in truth. Poetry is certainly something more than good sense, but it must be good sense, at all events; just as a palace is more than a house, but it must be a house, at least. The Arabian Nights' Tales are a different thing —they are delightful, but I cannot help surmising that there is a good deal of Greek fancy in them. No doubt we have had a great loss in the Milesian Tales.47 The book of Job is pure Arab poetry of the highest and most antique cast.
Think of the sublimity, I should rather say the profundity, of that passage in Ezekiel,48 "Son of man, can these bones live? And I answered, O Lord God, thou knowest." I know nothing like it.
May 11. 1830
Sir Thomas Monro and Sir Stamford Raffles were both great men; but I recognise more genius in the latter, though, I believe, the world says otherwise.
I never found what I call an idea in any speech or writing of –'s. Those enormously prolix harangues are a proof of weakness in the higher intellectual grasp. Canning had a sense of the beautiful and the good; – rarely speaks but to abuse, detract, and degrade. I confine myself to institutions, of course, and do not mean personal detraction. In my judgment, no man can rightly apprehend an abuse till he has first mastered the idea of the use of an institution. How fine, for example, is the idea of the unhired magistracy of England, taking in and linking together the duke to the country gentleman in the primary distribution of justice, or in the preservation of order and execution of law at least throughout the country! Yet some men never seem to have thought of it for one moment, but as connected with brewers, and barristers, and tyrannical Squire Westerns! From what I saw of Homer, I thought him a superior man, in real intellectual greatness.
Canning flashed such a light around the constitution, that it was difficult to see the ruins of the fabric through it.
May 12. 1830
Shakspeare is the Spinosistic deity—an omnipresent creativeness. Milton is the deity of prescience; he stands ab extra, and drives a fiery chariot and four, making the horses feel the iron curb which holds them in. Shakspeare's poetry is characterless; that is, it does not reflect the individual Shakspeare; but John Milton himself is in every line of the Paradise Lost. Shakspeare's rhymed verses are excessively condensed,– epigrams with the point every where; but in his blank dramatic verse he is diffused, with a linked sweetness long drawn out. No one can understand Shakspeare's superiority fully until he has ascertained, by comparison, all that which he possessed in common with several other great dramatists of his age, and has then calculated the surplus which is entirely Shakspeare's own. His rhythm is so perfect, that you may be almost sure that you do not understand the real force of a line, if it does not run well as you read it. The necessary mental pause after every hemistich or imperfect line is always equal to the time that would have been taken in reading the complete verse.
I have no doubt whatever that Homer is a mere concrete name for the rhapsodies of the Iliad.49 Of course there was a Homer, and twenty besides. I will engage to compile twelve books with characters just as distinct and consistent as those in the Iliad, from the metrical ballads, and other chronicles of England, about Arthur and the Knights of the Round Table. I say nothing about moral dignity, but the mere consistency of character. The different qualities were traditional. Tristram is always courteous, Lancelot invincible, and so on. The same might be done with the Spanish romances of the Cid. There is no subjectivity whatever in the Homeric poetry. There is a subjectivity of the poet, as of Milton, who is himself before himself in everything he writes; and there is a subjectivity of the persona, or dramatic character, as in all Shakspeare's great creations, Hamlet, Lear, &c.
May 14. 1830
Until you have mastered the fundamental difference, in kind, between the reason and the understanding as faculties of the human mind, you cannot escape a thousand difficulties in philosophy. It is pre-eminently the Gradus ad Philosophiam.
The general harmony between the operations of the mind and heart, and the words which express them in almost all languages, is wonderful; whilst the endless discrepancies between the names of things is very well deserving notice. There are nearly a hundred names in the different German dialects for the alder-tree. I believe
The Milesiacs were so called, because written or composed by Aristides of Miletus, and also because the scene of all or most of them was placed in that rich and luxurious city. Harpocration cites the sixth book of this collection. Nothing, I believe, is now known of the age or history of this Aristides, except what may be inferred from the fact that Lucius Cornelius Sisenna translated the tales into Latin, as we learn from Ovid:—
and afterwards,
and also from the incident mentioned in the
Chap. xxxvii. v. 3.
Mr. Coleridge was a decided Wolfian in the Homeric question; but he had never read a word of the famous Prolegomena, and knew nothing of Wolf's reasoning, but what I told him of it in conversation. Mr. C. informed me, that he adopted the conclusion contained in the text upon the first perusal of Vico's Scienza Nuova; "not," he said, "that Vico has reasoned it out with such learning and accuracy as you report of Wolf, but Vico struck out all the leading hints, and I soon filled up the rest out of my own head."– ED.